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...called silhouetch, with shadows reverberating outward and often colored with brilliantly acidic hues. Of late, with silhouetch being copied in scores of advertisements, Glaser has been bearing down in the clean linear style seen in his ebullient Big Nudes, designed for an exhibit at Manhattan's School of Visual Arts. "The funda mental problem," he says prosaically, "is like the clothing business. You have to know what's happening to respond, to understand what forms mean at a given point in time." On a more elevated level, he adds: "You have to find new ways of saying what...

Author: /time Magazine | Title: Graphics: Commercial Graffiti | 6/27/2005 | See Source »

...frames of 70-mm film provide dramatic visual evidence of a possibility hinted at earlier: the crew cabin of the space shuttle Challenger, and perhaps some of the seven crew members, survived the fireball loosed by the Jan. 28 shuttle explosion, and then dropped to the ocean in a nine-mile fall lasting three to four minutes. The photos, which NASA released last week under pressure from a presidential investigation commission, were taken by a high-speed telephoto tracking camera two miles from the launching pad. They show what appears to be an intact crew cabin sailing out and away...

Author: /time Magazine | Title: American Notes May 5, 1986 | 6/21/2005 | See Source »

...beginning was not the word but the ritual. Or so some of the most influential theorists of 20th century theater contend. Thus the avant-garde has sought to reinvigorate drama by going backward, to incantatory sound and allusive visual imagery. In the 1960s and 1970s, such experiments often evoked the grubby and primal. Lately artists like Robert Wilson have mined the elegant surrealism of dreams--and have willingly induced a drowsy semiconsciousness in audiences. Martha Clarke, a former modern dancer with the Pilobolus troupe, has traversed similar terrain in The Garden of Earthly Delights, echoing the Hieronymus Bosch painting that...

Author: /time Magazine | Title: Surreal Estate: VIENNA: LUSTHAUS | 6/21/2005 | See Source »

...that Homer did not think that way himself and that he did more than any other 19th century American artist to establish watercolor as an important medium in the U.S. In structure and intensity, his best watercolors yield nothing to his larger paintings. Homer had great powers of visual analysis; he could hardly look at a scene without breaking it down and resolving it as structure, and some of his paintings of the Adirondack woods, with their complicated shuttle of vertical trunks against a fluid background of deep autumnal shade, are demonstration pieces of sinewy design. He was able...

Author: /time Magazine | Title: Art: Into Arcadia with Rod and Gun | 6/21/2005 | See Source »

...cares about the visual integrity of Hollywood movies when there is a buck to be made? Not the studios or the TV networks. For them the golden oldies are either profitable inventory or chopped celluloid. And now the archives are being raided by technicians with a new idea: "colorizing" the black-and-white films of Hollywood's Golden Age through computer wizardry. The film is copied onto video and broken down into gradations of gray. An "art director" sits at a console and chooses the colors for each face, dress and prop, which the computerized "paintbrush" adds frame by frame...

Author: /time Magazine | Title: Show Business: Raiders of the Lost Art | 6/21/2005 | See Source »

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